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In discussions of American poetry since World War II the work of John Berryman has become increasingly neglected and marginalized. Critics have overwhelmingly chosen to favour the notion that he is an academic establishment poet whose career can comfortably be described as a move from New Critical traditionalism towards selfabsorbed confessionalism. This study shows how such a narrow understanding of Berrymans work is reflective of a broader critical inclination towards a codification of t